Latina/o Canadian Theatre and Performance

Edited by Natalie Alvarez

Latina/o Canadian Theatre and Performance
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Featuring exciting and provocative new essays by leading and emerging scholars in Canada and the US, this foundational collection begins a conversation about Latina/o theatre and performance in Canada. The essays query the contours and characteristics of latinidad in Canada's ... Read more


Overview

Featuring exciting and provocative new essays by leading and emerging scholars in Canada and the US, this foundational collection begins a conversation about Latina/o theatre and performance in Canada. The essays query the contours and characteristics of latinidad in Canada's performance spaces within a complex network of hemispheric relations and transnational migrations. While the discipline has witnessed a "hemispheric turn" in the study of theatre and performance in the Americas, Canada has had limited inclusion in this body of scholarship. In their examinations of the groundbreaking work of companies and artists such as Alberto Kurapel, Guillermo Verdecchia, Carmen Aguirre, Aluna Theatre, and PUENTE Theatre, these essays invite us to think more inclusively about the hemisphere and the plurality of the Americas that lie beyond US borders.Contributors include: Natalie Alvarez, Alicia Arrizón, Hugh Hazelton, Ric Knowles, Martha Nandorfy, Jimena Ortuzar, Jeannine M. Pitas, Pablo A. Ramirez, Jessica Riley, Ramón H. Rivera-Servera, Tamara Underiner, and Guillermo Verdecchia.

Natalie Alvarez

Natalie Alvarez is an associate professor at Brock University’s Department of Dramatic Arts where she teaches in the Theatre Praxis concentration. Her work on contemporary performance, performance theory, and Latina/o theatre has appeared in a number of periodicals such as Theatre Journal, Journal of Dramatic Theory and Criticism, and Janus Head, as well as in national and international essay collections. Her current SSHRC-funded book project, Enactments of Difference, examines simulations, interculturalism, and performance in military training and dark tourism. She also serves as co-editor of the Canadian Theatre Review’s Views and Reviews.

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